22-6, 22-7, 22-8 Francesco Borromini, Church of San Carlo alle Quattro Fontane, Rome, 1638-67ART HIST 110 1st Edition Lecture 3Italian Baroque Art: Light, Color, Action The term Baroque is applied to all art of the seventeenth century, however, the word also has a more precise stylistic meaning. Usually opposed to the term “Classical,” which implies stability, balance, and restraint, the term “Baroque” instead suggests dynamism, drama, and emotionalism. This artistic style was particularly appropriate for conveying the power of the Counter-Reformation Church and the absolutism of European Monarchies.Responding to the demands of the Counter-Reformation, Italian Baroque architects inventively manipulated the classical language of architecture to awe and inspire the faithful. The two most important architects of the period were Gianlorenzo Bernini and his arch-rival Francesco Borromini. While Bernini’s architecture was impressive and creative, it never veered too far from classical norms; Borromini, by contrast, developed highly original, dynamic forms based on concavities and convexities.Bernini changed the entire concept of sculpture in the Baroque period. Coupling a formidable carving technique with a sense of high drama and an uncanny ability to capture a fleeting moment of motion in the medium of marble, Bernini’s high emotionalism and drama are the antithesis of the calm and quiet grandeur of the Renaissance. In the furnishings he created for St. Peter’s, Bernini achieved a new synthesis among the arts of sculpture, architecture and city planning.In the paintings of seventeenth-century Italy, Baroque stylistic characteristics abound. The painter Caravaggio, for example, used extremes of light and dark in his canvases to create dramatic and compelling religious narratives intended to spiritually move the faithful. His style was much imitated by artists all over Europe, including Artemisia Gentileschi, whose art self-reflexively addresses her unusual position as a woman artist. Italian Baroque works discussed:22-6, 22-7, 22-8 Francesco Borromini, Church of San Carlo alle Quattro Fontane, Rome, 1638-6722-2 Gianlorenzo Bernini, Piazza in front of St. Peter’s, Rome, c. 1656-57(façade by Carlo Maderno, 1607-1626)22-3 Gianlorenzo Bernini, the Baldacchino in St. Peter’s, 1624-33 (gilt bronze)22-4 Gianlorenzo Bernini, David, 1623 (marble)These notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.22-5, 22-1 Gianlorenzo Bernini, St. Teresa of Ávila in Ecstasy, Cornaro Chapel, Rome, 1645-52 (marble)22-11 Caravaggio, Bacchus, 1595-96 (oil on canvas)pp. 723, 722 Caravaggio, The Calling of St. Matthew, Contarelli Chapel, Church of San Luigi dei Francesci, Rome, 1599-1600 (oil on canvas)22-12 Caravaggio, Conversion of St. Paul, Cerasi Chapel, Church of Santa Maria del Popolo, Rome, c. 1601 (oil on canvas)22-14 Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, 1630 (oil on canvas)22-13 Artemisia Gentileschi, Susannah and the Elders, 1610 (oil on canvas)Terms and events:Architectural elements: capital, column, base, pedimentCouncil of Trent, 1545-63Counter-ReformationTenebrismLecture Notes: Topic: The High Renaissance in Northern Europe- during a time in Europe known as the Reformation, focusing on the city of Ethanehim1. The Isenheim Altarpiece- closed with Crucifixion panel- c. 1510-15- oil on wood panel- Matthias Grunewald (artist)- Commissioned for a monastic hospital (a hospital in a monastery and run by monks; specifically The order of Saint Anthony)- in the hospital, the monks treated people with skin disease- the view of the altarpiece is of very large scale- the altarpiece shows different moments of Christ; depicts his death, the crucifixion, resurrection,nativity scene, immaculate conception, etc.- The piece is in the shape of cross; very religious- The painting says “others have suffered like Christ has suffered. He understands you and there is hope”. Ultimately the piece gives off a clear message of understanding and hope. - The piece is dividing into a painting of four parts.- The Main Crucifixion Panel: the piece is two-parted and can open up. It is often always open to the public.- The body of Christ is disproportionate, tortured, and suffering. It is the ultimate of human suffering. Emphasis on the wounds of Christ. But his pain and imperfection also shows he is human too; our equal. - The figures around Christ are portraying the intense emotion of christs followers in the praying position- The painting also says that Christ has suffered and understands your pain- Resurrection of Christ exemplifies the hope of the piece (bright colors are used, positive image, no physical suffering or sores shone, white paint meaning purity is used, flying about all else in the piece conveys hierarchy, emotion, and meaning) - The church is the home of salvation for all (reason for monastic hospital and this painting)- Use and form of the body in this piece as a whole is very important and symbolic in a religious sense- Dark colors are evil; light colors are pure, positive, and moments of joy- Piece reflects pain and suffering with the patients pain and suffering – leading to salvation in life and death 2. Portrait of Martin Luther - Lucas Cranach (artist)- 1500s or 16th century - the artist is a monk and he protested against the catholic church saying they were corrupt and he beganthe protestant reformation - Lucas wanted the catholic church to reformMartin Luther criticizes the church for:- sale of indulgences- Simony, nepotism- Degeneracy and corruption of clerics – he calls for personal and direct access to the word of God and the translations of the Bible into the vernacular- Veneration of images and the cult of saints – worshipping the idea and not worshipping the images of Christ only - Martin Luther publishes 95 theses in 1517- Luther starts the protestant branch of the church - protestants believe there should be no images of anything; Christ etc. in the holy place; church whatsoever. - protestants removed and ripped down images/scultpures of Christ in their churchs called iconoclasmTopic 2: Baroque Art in Italy: Art of Persuasion - persuade viewers with political points of view, religious and other, etc.- the baroque period is 100 years after the information in the first topic- so at this point there is a